We found 19747 price guide item(s) matching your search

Hudson Side Table Champagne The effortless cool of its clean design is complemented by beautiful and practical detailing, such as tempered glass and an aged bronze finish. Two circular surfaces deliver the perfect ornate side table for easy and elegant entertaining. The neutral tones of this piece also offer opportunities to showcase art, colour and modern life. Sophisticated, contemporary and versatile, this piece has been designed for lovers of fine featured furniture W500 x D500 x H600mm

Mondrian Bike Framed art print by Sassan Filsoof Framed Art Print on Matt 250gsm conservation digital paper Sassan Filsoof combines bold use of colour, shapes and silhouettes with subjects that vary from modern sports to global issues. Initially trained as an industrial designer, Filsoof has since decided to pursue his passion for graphics. He blends imagery and quotes to create eye-catching designs inspired by vintage travel posters. 28 x 26cm

A collection of vintage and modern glassware to include rooster figurine & hurricane lamps. Lot also includes art glass vase in the shape of a female bust. Vase approx. 31 cm tall.

A quantity of jewellery, including a silver Perrier bottle cap signed Cartier, an Art Deco silver and black-stone compact, an amber dragon-form pendant with gold mount, a heavy silver cuff bracelet mounted with lattice-form hardstones, a white gold brooch mount set within a border of circular sapphires, a jadeite circular disc, a pair of silver bulldog head cufflinks, two further pairs of cufflinks and three single cufflinks, a cabochon pink stone pendant with diamond-set cap, a section of boulder opal, nine Chinese oval-shaped mother-of-pearl counters, two modern silver rings each set with a section of black stone and a modern silver ring formed with graduated discs

Bertram Priestman (British, 1868-1951)Sketch for 'The Heart of the West Riding' signed and dated 'PB 15'(lower left)oil on canvas46 x 61cm (18 1/8 x 24in).Footnotes:ProvenanceThe family of the artist, by descent.This painting dated 1915 is a study for the large oil, 'The Heart of the West Riding' painted in 1916 which was gifted to the Bradford Museums and Galleries Collection in 1918 by Frederick Priestman.The subject of smoking chimneys in the industrial heartland of Yorkshire was a subject Priestman returned to in later years.'The combination of the grandeur of the moorland and valley landscape of Airedale with the grimly impressive industrial architecture of its cities inspired Priestman's memorable 1916 Academy painting, 'The Heart of the West Riding' (Bradford Art Galleries and Museums). The Art Journal commented that 'beauty, broadly understood, is not invariably destroyed by the presence of tall chimneys and the association of modern labour with ancient country peace.' Priestman's imagination responded powerfully to the smoking factory chimneys, viaducts, and mill buildings of his home town Bradford. 'The Heart of the West Riding' was already hanging in the Summer Exhibition by the time of the Academy elections in 1916 and probably contributed to Priestman's success in being elected an Associate.' The Edwardians and After, The Royal Academy 1900-1950 ed. Mary Anne Stevens, London 1988, p. 137.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AN ART DECO STYLE MIRROR, and a modern composite circular mirror with scallop shaped frame 75 cm x 89 cm

A modern button-back headboard with a purple velour fabric to suit a double bed, two penny chairs, an open tub chair, a lined oak oval shaped stool with purple velour seat and four mirrors to include an Art Deco over mantle/dressing table mirrorLocation: G

A modern art gorilla head, 40cm high, 37cm wide.

A reproduction gilt metal table lamp, the single Corinthian column with cast decoration depicting cherubs to the lower section, raised on alabaster plinth base, height 55cm, together with three further modern brass table lamps, and four modern glass shades, to include an example with Art Nouveau style detail (8).Additional InformationThe Art Nouveau style shade with numerous chips to the top rim, it is signed 'Interiors' 1900 to the rim, the milk glass shade with minor nibbles/chips to the rim, the lamp with alabaster base with numerous chips to the base, heavy wear to the metal section, general wear throughout.

A modern Art Deco style 3-piece silver plated tea set, comprising teapot, milk jug and sugar pot, on geometric tray, teapot height 20cm

A Framed Modern Art Gouache, 'Aberaeron Harbour' by M Davies, 45x33cms

A chrome plated 'HMV Room Heater',designed by Christian Barman in 1934 and made by HMV Factories, Hayes, Middlesex after 1938, with four stacked blades, fitted with a fan and elements inside, labelled and stamped 'Serial No. H8155',43cm wide32cm deep31cm highChristian Barman (1898-1980) was the editor of Architectural Review and later publicity officer for the London Passenger Transport Board; he was also an influential propagandist for the modern movement.Condition report: Sold as a work of art - cut lead, good overall.

An Art Deco-style cameo glass globe lamp,with frosted and cut purple bands, with a modern conical tapering shade,34cm high

A collection of ten silver nurse's buckles, various dates and makers, including: a modern one, in the Art Nouveau manner, pierced with flowers, London 1995, an Edwardian one, with plain pierced scroll decoration, by W G Keight, Birmingham 1909, scroll decoration, and eight other examples, approx. weight 12.8oz. (10)

A collection of ten silver nurse's buckles, various dates and makers, including: a modern one in the Art Nouveau manner, London 1996, with maiden's head and foliate decoration, plus one pierced and chased with urns of flowers and foliate scroll decoration, London 1989, and eight other examples, approx. weight 14oz. (10)

By Liberty and Co, an Edwardian Art Nouveau silver and enamel teaspoon, Birmingham 1903, the tapering handle with stylised decoration and green, orange and blue enamel decoration, length 11cm, plus another Liberty silver and enamel spoon, Birmingham 1902, also stamped 'CYMRIC', the terminal with pierced green enamel decoration, plus a teaspoon with foliate decoration and a modern Liberty spoon, Edinburgh 1987, the tapering handle with a blue cabochon, approx. total weight 1.4oz. (4)

A PAIR OF MODERN METAL FRAMED CHAIRS, a pair of green painted rush seated chairs, an oak art deco draw leaf table, width 107cm x open width 170cm x depth 84cm, oak tea trolley, standard lamp with shade, upholstered stool, modern mahogany wall mirror, slim gilt wall mirror and a triple dressing mirror (11)

Frank Brangwyn, a collection of eight assorted prints and books; unsigned lithograph, Figures with bridge beyond, 30 x 22cm; etching, Physicians at the bedside, signed in pencil,8 x 9cm; etching, Pigs before a doorway, initialled, 12 x 8.5cm; wood engraving, Shepherds beneath stars, signed, 14 x 17cm; etching of a Rabbi, signed in pencil, 14 x 15cm; wood engraving, Travellers before a village, signed in pencil, 9 x 9cm; etching, Canal barge, signed in pencil, 10 x 20cmBooks: The Spirit of the Age, The Work of Frank Brangwyn 1905 (2 copies); Frank Brangwyn, Catalogue by Marechal; Frank Brangwyn, Masters of Modern Art Essay, lacks front cover; Windmills by Brangwyn and Preston, 1923; Frank Brangwyn and his Work by Shaw-Sparrow, 1910; Brangwyn A Book of Bridges, 1925 reprint; Modern Woodcutters Frank Brangwyn; Bookplates by Frank Brangwyn, 1920; Prints and Drawings by Brangwyn by Shaw-Sparrow, 1919; The Bridge by Brangwyn and Barman, 1926 and The Decorative Art of Frank Brangwyn by Furst, 1924

Rare manual transmission model1995 Ferrari 456 GT CoupéCoachwork by PininfarinaRegistration no. F12 MPGChassis no. ZFFSP44C000103273*Sold new in Hong Kong*Imported into the UK in 2014*Present ownership since 2015*Circa 46,000 kilometres recorded*Extensive history fileFootnotes:Not since the 412's demise in 1989 had Ferrari offered a '2+2', and when the 456 GT arrived in October 1992 it was obvious that the long awaited newcomer eclipsed all Maranello's previous four-seat Grand Tourers. Although new throughout, the 456 GT incorporated elements familiar to generations of Ferrari cognoscenti: front-mounted four-cam V12, rear transaxle, tubular steel spaceframe chassis and all-independent suspension, while making an appearance for the first time were electronically-controlled adaptive suspension and a six-speed gearbox (an automatic was optional). Essentially a de-tuned version of that powering the 550 and 575, the new 5.5-litre V12 produced 442bhp at 6,250rpm yet remained smooth and tractable from idling speed to red-line thanks to its state-of-the-art engine management system. F40 excepted, the 456 was Ferrari's most powerful road car up to that time, yet despite delivering supercar performance its relatively unstressed engine has proven to be very reliable.For the 456, Pininfarina worked its magic once more to create a subtly beautiful curvaceous body contrasting with the hard edges of its predecessor. Although bereft of extraneous aerodynamic devices, the 456 remained stable up to its maximum of around 190mph, a figure that made it the world's fastest production four-seater passenger car. Acclaimed on its debut, the 456's styling has not dated and is a tribute to Pininfarina's farsightedness in creating one of most successful designs of modern times. An air-conditioned interior, sumptuous Connolly leather trim, perfectly weighted power steering and Porsche-rivalling build quality all combined to make the 456 GT a worthy competitor for Bentley, Aston Martin and Mercedes-Benz.This rare and sought-after manual transmission example was sold new in Hong Kong and purchased there by the previous keeper in 2010 before being imported by them into the UK in 2014. The car's full history is on file with circa 35-40 individual invoices issued by Italian Motors HK/Auto Italia HK between 1995 and 2014.The previous keeper had Hoyle Fox service the car once before it was purchased by the late owner via The Ferrari Centre in November 2015 at 44,054 kilometres (scanned advertisement on file). The current odometer reading is circa 46,000 kilometres. While in the current ownership, maintenance has been undertaken regularly by local specialist Mark Allen of M D Allen Engineering, who looks after the owner's collection. The car is offered with its original sales/service book and owner's handbook; a Replacement Maintenance Certificate book in the deceased owner's name (issued November 2015); a V5C Registration Certificate; and the aforementioned service bills. The cherished registration 'F12 MPG' is included in the sale.For further information on this lot please visit Bonhams.com

2011 Mercedes-Benz SLS AMG RoadsterRegistration no. to be advisedChassis no. WMX1974772A0071414•Rare right-hand drive example•Automatic transmission•Three previous keepers•Circa 15,000 miles from newFootnotes:'For anyone wishing to give their Mercedes that extra personal touch, Mercedes-AMG GmbH has just the answers. The Daimler-Chrysler subsidiary offers the combined experience of Mercedes-Benz and AMG in the field of high-quality enhancements for Mercedes-Benz passenger cars and puts the emphasis firmly on individuality when creating the customer's dream Mercedes.' - Mercedes-AMG GmbH.AMG, which is now the official performance division of Mercedes-Benz, has a long history of producing high-performance derivatives of Mercedes' standard production vehicles, and these improved versions enjoy an enthusiastic following world-wide, with prominent figures of the motorsports, entertainment, sport, and business communities being counted among aficionados. With the introduction of the Mercedes-Benz SLS AMG in 2010, the Affalterbach-based firm took a significant step forward. First seen at the 2009 Frankfurt Motor Show and acknowledged as a tribute to the legendary 300 SL 'Gullwing' coupé of the 1950s – arguably the world's first supercar – the Mercedes-Benz SLS AMG was notable as the first car to be designed in-house by AMG. A collectors' item from the day it was announced, the newcomer featured 'Gullwing' doors like its illustrious predecessor and succeeded the Mercedes-Benz SLR McLaren at the top of the German manufacturer's range. Styled by Mercedes-Benz's Mark Fetherston, the SLS AMG received numerous prestigious design awards, and is the only automobile ever to have won the (gold) Design Award of the Federal Republic of Germany. An open roadster version was introduced for 2011.Boasting a chassis/body of mainly aluminium construction, the SLS (Sport Licht Super) was powered by a 6.2-litre V12 engine producing 563bhp initially - the most powerful normally aspirated production car engine of its day - while the seven-speed dual-clutch automatic transmission was similarly state-of-the-art. Several limited edition versions were introduced, including a GT3 racer, leading up to the SLS AMG GT Final Edition of 2014. Mercedes-AMG CEO Tobias Moers has said that there are no plans for a successor, so for the time being the SLS AMG remains the ultimate expression of the noble 'Gullwing' tradition.Offered here is an example of the open Roadster version, which was first unveiled at the Frankfurt International Motor Show in 2011. Just like its 300 SL Roadster predecessor, the soft-top SLS AMG features conventional doors and incorporates strengthening to compensate for the absence of a fixed roof, which adds 40kg (88lb) to the total weight. Despite this apparent handicap, Autocar magazine found that the SLS Roadster possessed better body control and greater levels of feedback than the coupé! Also of note is the Roadster's multi-layered fabric soft-top that opens and closes in 11 seconds, and can be operated on the move at up to 50km/h (31mph). Currently registered to its fourth keeper (from October 2015) this rare right-hand drive Imola Grey metallic SLS AMG Roadster has covered only some 15,000 miles from new and is described by the vendor as in excellent condition throughout. MoT'd to 7th March 2022, this collectible modern Mercedes is offered with service bills, the most recent from June 2021 and a V5C registration document.For further information on this lot please visit Bonhams.com

1971 Mercedes-Benz 280 SE 3.5 ConvertibleRegistration no. KBJ 86JChassis no. 11102712002926•Last-of-the-line modern classic•Automatic transmission•Left-hand drive•Imported into the UK in 2010•Present ownership since 2010Footnotes:'If you feel obligated to ask about the price you not only will never understand the car, you have branded yourself incapable of ever appreciating its virtues even if someone gave you one.' – Car & Driver on the Mercedes-Benz 280 SE 3.5. The fact that Car & Driver felt compelled to comment on the 280 SE's price is understandable when one considers that at $13,500 in 1970 it was not only $3,500 more than that of the equivalent Mercedes-Benz saloon but also more than double that of a Cadillac Deville Coupé! The ultra-luxurious 280 SE Coupé/Cabriolet (and 300 SEL saloon) had been chosen by Mercedes-Benz to launch its magnificent new 3.5-litre V8 engine in 1969. An over-square design featuring a cast-iron block and aluminium-alloy cylinder heads, each equipped with a single overhead camshaft, this all-new, state-of-the-art power unit produced 200bhp courtesy of Bosch electronic fuel injection and transistorised ignition. Thus equipped, the Coupé/Cabriolet was good for 125mph with 60mph reachable in 9.5 seconds, a substantial improvement on the six-cylinder version's figures. Although the equivalent SEL saloon used the 'New Generation' bodyshell, the Coupé and Cabriolet kept the elegant coachwork that had debuted back in 1959 on the 220 SE and, as befitted top-of-the-range luxury models, came equipped with automatic transmission, air conditioning, power windows, and a stereo radio as standard. Significantly, the 280 SE 3.5 was to be the final model to feature this long-established and much admired body style, and today these last-of-the-line classics are highly sought after by discerning Mercedes-Benz collectors. An automatic transmission model, this left-hand drive Mercedes-Benz 280 SE 3.5 Convertible was acquired via Cooper Classics of New York, USA. The car was imported by the current vendor and registered in the UK in 2010. It has been used infrequently and for special occasions, and is said to drive well at any speed. The passage of time and changes of circumstances mean that this much-loved Mercedes-Benz needs to find a new custodian. Described by the private vendor as in good condition throughout, the car is offered with a V5C document and will be freshly MoT'd by time of sale. The stylish 280 SE 3.5 has long been regarded as a classic of post-war design, possessing a timeless elegance that turns heads and gathers appreciative glances to a degree unmatched by its modern-day counterparts. Above all else, the 280 SE with the desirable 3.5-litre engine identifies its owner as a true connoisseur.For further information on this lot please visit Bonhams.com

An Art Nouveau style silver and opal ring, Size MThis is a modern copy.

An Art Deco style brooch in the style of a panther, and another (2)This is a modern copy

An Art Noveau style brooch and another (2)This is a modern copy

An Art Deco style silver and purple stone ring and a necklace (2)This is a modern copy

Art Reference. The art reference library of Dr Jeffrey Sherwin (1936-2018), containing numerous exhibition catalogues, artist monographs, coffee-table books, auction catalogues (Sotheby's and Christie's), and similar, on artists including Dali, Henry Moore, Picasso, Van Gogh, and others, publishers including Tate, Thames & Hudson, Royal Academy of Arts, etc., together with assorted other books including vintage Penguin paperbacks (mainly classics of English literature), Yorkshire reference, etc., individual titles including: 1) Horner (Libby, & Gillian Naylor), Frank Brangwyn 1867-1956, 2 copies, limited editions, each numbered 1 of 100 copies, Leeds: Leeds Museums and Galleries, 2007, folio, original red cloth, slipcases, each front cover lettered 'Presented to Dr. Jeffrey Sherwin' in gilt, dedication leaf to each volume reading 'Presented to Dr. Jeffery Sherwin by Leeds Museums and Galleries. This special edition has been hand bound in binders cloth. Limited edition No. 001 of 100', 2) McShine (Kynaston, editor). Andy Warhol. A Retrospective, 1st edition, New York: Museum of Modern Art, 1989, 4to, original patterned boards, clear plastic dust jacket with printed outline portrait and title to front panel, 3) Gilbert (Christopher). Furniture at Temple Newsam and Lotherton Hall, 1st edition, [London?]: published jointly by the National Art-Collections Fund and the Leeds Art Collections, 1978. 2 volumes, 4to, dust jackets, signed by Gilbert and others, together with: Walton (Peter, Creamware and other English Pottery at Temple Newsam House, Leeds, 1st edition, Bradford & London: Manningham Press, 1976. 4to, original cloth, dust jacket, signed by Walton and others, both works housed in single slipcase with gilt morocco label 'To Jeffrey, with good wishes from all his directors in Leisure Services, May 1980', 4) British Surrealism & Other Realities. The Sherwin Colleciton, 2 copies, Middlesbrough: Middlebrough Institute of Modern Art, 2008, 8vo, original cloth-backed photographic boards (qty: 37 boxes) 'Dr Jeffrey Sherwin ... was a GP who became instrumental in creating the Henry Moore Institute in Leeds and who assembled a renowned collection of British surrealist art which he placed on show around the world ... Dr Sherwin was educated at Leeds Grammar, Leeds University and Balliol College, Oxford ... It was in 1977 that he met the Castleford-born sculptor, Henry Moore, and learned that despite his world renown and having studied in Leeds, he had never been invited back to the city. A fruitful relationship ensued, and Dr Sherwin conceived the idea of creating a separate sculpture gallery at the front of the old Leeds City Art Gallery, fighting to secure the £150,000 funding needed to make the Henry Moore Institute a reality. The son of a Jewish GP father, Jeffrey had inherited his interest in art from his mother Rachey, an amateur ceramicist. He began collecting paintings whilst a student in Oxford. An event at Leeds City Art Gallery to commemorate the 50th anniversary of the 1936 International Surrealist Exhibition opened his eyes to British surrealism, and he began to acquire works at auctions and directly from living artists ... It became the largest collection of British surrealist art assembled through amateur enthusiasm rather than for private gain, and works from it have been sent on loan to the Tate in London and the Museum of Modern Art in New York as well as galleries in France, Spain, and Germany' (Obituary, Yorkshire Post, 17 November 2018).

Bronze- und Silberring mit Gemme. 2. - 3. Jh. n. Chr. a. Ringgröße 53. Schmale, nach außen konvexe, nach oben breiter werdende Schiene aus Silber mit Schulterknick. Auf der Platte oktogonale Gemme aus Achat, auf dem Intaglio Ameise. Ring intakt, Gemme modern wieder angeklebt, mit Sprüngen. Erworben 09.08.2013 bei London Ancient Coin Art Ltd. b. Ringgröße 50-51. Schmale, nach außen konvexe, nach oben breiter werdende Schiene aus Bronze mit Riefen, oben auf der Platte hochovale Gemme aus rotem Karneol, auf dem Intaglio thronender Jupiter mit Zepter. Intakt. Erworben bei Gorny & Mosch, München Auktion 239, 2016, Los 294 (ex Sammlung E. M., Deutschland, erworben in den 1990er Jahren). 2 Stück! Alle mit Kopie der Rechnung! Provenienz: Aus der bayerischen Privatsammlung H. W.

Etruskische Kleeblattkanne. Ende 7. Jh. v. Chr. H 19,2cm, ø Körper 12,8cm. Bucchero. Aus großen Fragmenten zusammengesetzt, kleine Fehlstellen sind retuschiert, Fuß modern ergänzt. Provenienz: Aus einer französischen Privatsammlung der 1960er Jahre; in Deutschland seit 2000. Publiziert: Kunst der Antike - Ancient Art. Galerie Günter Puhze Katalog 28, 2014, Nr. 71.

Jeremy Gardiner Portland Stone, Anvil Point, Swanage, 2021 Acrylic and Jesmonite on Poplar Panel Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jeremy Gardiner's artistic excavation of the geology of landscape is shaped both by human activity and by the forces of nature. His painting is informed by science, geomorphology, new technologies and direct physical engagement with ancient landscapes. Gardiner interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast of Dorset to the rugged coast of Cornwall, the Oceanic islands of Brazil, the arid beauty of the island of Milos in Greece and the Lake District and its numerous waterfalls. Gardiner's spatially probing and texturally explicit pictures creatively transform the lessons learnt from pioneering modern British landscape painters such as John Tunnard, Ben Nicholson, Peter Lanyon and the American artist Richard Diebenkorn. 'Gardiner's distinctive laminar landscapes reveal their layered meanings only over time - this is not instant art, but art which discloses itself gradually. Its richness matches the complexity of the world it seeks to evoke, and offers back an interpretation of it which is both personal and penetrating.' Andrew Lambirth, Art Critic Gardiner studied Fine Art at Newcastle University from 1975 -79 and painting at the Royal College of Art from 1980-83. He was a Harkness Fellow at Massachusetts Institute of Technology from 1984-86.Gardiner's monograph 'The Art of Jeremy Gardiner: Unfolding Landscape' was published by Lund Humphries in 2013 that year Gardiner was awarded the prestigious Discerning Eye ING Art prize for 'Pendeen Lighthouse', the first painting in a series that would evolve into Pillars of Light, his sellout exhibition which took place in September, 2016 at The Nine British Art, St James's, London. His paintings have been exhibited in Europe, the USA, South America, and Japan. He has won numerous awards throughout his career including a Churchill Fellowship and New York Foundation for the Arts Fellowship. Gardiner's paintings are represented in public and corporate collections including the Victoria and Albert Museum, the Government Art Collection, BNP Paribas and Pincent Masons. His most recent exhibitions include Drawn to the Coast in 2017, and Tintagel to Lulworth in 2019. South by Southwest a recent touring museum exhibition was a journey to explore the modern-day reality of our coastline from Kent to Cornwall, looking afresh at the harbours, bays, coves, castles and follies that characterise the remarkable shoreline of the South Coast. The show was cut short by the pandemic in 2020, paintings from this body of work are on display at Linley Belgravia and The Nine British Art, St James's, London during summer 2021.The Nine British Art, 9 Bury Street, St James's, LondonMy work reflects a deep and long-term interest with the geology of landscape and how it is shaped by the forces of nature. In this piece, a study of the Purbeck limestone at Anvil Point my working method involves building accretions of paint on poplar panel and sanding them down, in an attempt to emulate on the surface of my paintings, the effects of geological time on the terrain. Landscape painting is thriving in the 21st Century, reasons may include our imminent environmental collapse and an increasingly digitally mediated existence. I believe if I can paint pictures that encompass an understanding of different landscapes their underlying structures, contours and unique history, then it is time well spent.  

Liberty Blake 98k Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake E., 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D Tape, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Simon Morley Camus, La Peste / The Plague 1, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) I am British, but live in South Korea where I teach at a university. I also spend time in my house in central France. I lived in London for many years, and before that, in New York City. I divide my time between teaching, painting and writing. My painting practice usually involves 'painted words' which I find rather than invent. I am interested in the shape of there words as well as their meaning. I often use book covers and title pages. You can see my work in the recently published book 'The Word is Art' (Thames & Hudson, 2018) Education BA Modern History, Oxford University MA Fine Art, Goldsmith's College, University of London PhD University of Southampton Exhibitions Selected solo shows 2011-2021: 2020-21: 'Ex Libris', Bibliothek Sankt Georgen, Frankfurt, Kunst-Station Sankt Peter, Cologne. 2019: '1968', Eagle Gallery (with Jonathan Callan and Carolyn Thompson) 2018: 'Parallel', Hanmi Gallery, Seoul 'Our Utopia', Youlhwadang Book Museum, Paju Book City, South Korea 2017: 'Invisible', Courtauld Gallery Library, London 2015: 'Kiss Me Deadly, Gallery Baton, Seoul 2014 : 'Albert Camus: Oeuvres', Galerie Scrawitch, Paris 2011: 'Messagerie', Musée des Beaux-Arts, Dijon, France Gallery Representation Art First, London. JJ gallery, Seoul, Korea. About the postcard artworks These 4 ink paintings are based on the 1947 Gallimard First edition of Albert Camus' classic 'La Paste' ('The Plague'). This book seemed an appropriate one to paint during the pandemic. Camus is a favorite writer of mine, and in 2015 I did a whole show about him in Paris.  

Simon Morley Camus, La Peste / The Plague 2, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) I am British, but live in South Korea where I teach at a university. I also spend time in my house in central France. I lived in London for many years, and before that, in New York City. I divide my time between teaching, painting and writing. My painting practice usually involves 'painted words' which I find rather than invent. I am interested in the shape of there words as well as their meaning. I often use book covers and title pages. You can see my work in the recently published book 'The Word is Art' (Thames & Hudson, 2018) Education BA Modern History, Oxford University MA Fine Art, Goldsmith's College, University of London PhD University of Southampton Exhibitions Selected solo shows 2011-2021: 2020-21: 'Ex Libris', Bibliothek Sankt Georgen, Frankfurt, Kunst-Station Sankt Peter, Cologne. 2019: '1968', Eagle Gallery (with Jonathan Callan and Carolyn Thompson) 2018: 'Parallel', Hanmi Gallery, Seoul 'Our Utopia', Youlhwadang Book Museum, Paju Book City, South Korea 2017: 'Invisible', Courtauld Gallery Library, London 2015: 'Kiss Me Deadly, Gallery Baton, Seoul 2014 : 'Albert Camus: Oeuvres', Galerie Scrawitch, Paris 2011: 'Messagerie', Musée des Beaux-Arts, Dijon, France Gallery Representation Art First, London. JJ gallery, Seoul, Korea. About the postcard artworks These 4 ink paintings are based on the 1947 Gallimard First edition of Albert Camus' classic 'La Paste' ('The Plague'). This book seemed an appropriate one to paint during the pandemic. Camus is a favorite writer of mine, and in 2015 I did a whole show about him in Paris.

Carl Melegari Favsto, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Bristol native Carl Melegari paints in a dramatic and bold style, focused primarily on human heads. Melegari held a lecturing post at the University of Wales Trinity Saint David for many years, having graduated from the institution with a BA Hons in fine art. Carl is of Italian heritage, but born and raised in the United Kingdom. The artist tends to title his paintings with unique names reflecting his ancestry, at the same time infusing a touch of mystery as to the sitter's true identity. Melegari's unique painting process is a consideration and exploration of paint and its various behaviours when mixed and applied in different ways. His practice also involves revisiting the same portrait time and again, in some instances years after his most recent adjustments. Artist Statement   "I begin by applying an oil turpentine tonal wash to the figure. I apply various impasto layers of oil paints (I mix an alkyd medium with the oil to enable a better drying process) at times using a brush, but predominately palette knives. I occasionally scrape back layers only to reapply in the same area liberally, vigorously attacking the canvas. This is applied with bold applications of paint fused with thinned paint using either or sometimes a mixture of linseed oil and turpentine. All this allows the paint to interact with my application. I will allow the drips to run in different directions. The drying process can take weeks and quite often I will rework into the painting by peeling away and reworking the layers. I'm basically exploring the physicality of the paint and how it reacts with the surface - applying the paint generously and allowing it to drip spontaneously too."   Exhibitions 2020 Ffin y Parc Gallery - 10th anniversary exhibition. Thompson's Galleries - London Art Fair/ Aldeburgh annual exhibition.   2019 Artzu - AAF Manchester. Clifton Contemporary - solo exhibition. Courcoux Contemporary - mixed exhibition in Salisbury. Edgar Modern - AAFs in Battersea, Hampstead and Singapore. Hadfield Fine Art - Ascot Art Fair. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / 'Small wonders' exhibition. 2018 Artzu - AAF Manchester. Edgar Modern - AAFs in Battersea, Hampstead and New York. Hadfield Fine Art - Cambridge Art Fair / Autumn exhibition. Kooywood Gallery - solo exhibition. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / London Autumn exhibition.  

Carl Melegari Ava, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Bristol native Carl Melegari paints in a dramatic and bold style, focused primarily on human heads. Melegari held a lecturing post at the University of Wales Trinity Saint David for many years, having graduated from the institution with a BA Hons in fine art. Carl is of Italian heritage, but born and raised in the United Kingdom. The artist tends to title his paintings with unique names reflecting his ancestry, at the same time infusing a touch of mystery as to the sitter's true identity. Melegari's unique painting process is a consideration and exploration of paint and its various behaviours when mixed and applied in different ways. His practice also involves revisiting the same portrait time and again, in some instances years after his most recent adjustments. Artist Statement   "I begin by applying an oil turpentine tonal wash to the figure. I apply various impasto layers of oil paints (I mix an alkyd medium with the oil to enable a better drying process) at times using a brush, but predominately palette knives. I occasionally scrape back layers only to reapply in the same area liberally, vigorously attacking the canvas. This is applied with bold applications of paint fused with thinned paint using either or sometimes a mixture of linseed oil and turpentine. All this allows the paint to interact with my application. I will allow the drips to run in different directions. The drying process can take weeks and quite often I will rework into the painting by peeling away and reworking the layers. I'm basically exploring the physicality of the paint and how it reacts with the surface - applying the paint generously and allowing it to drip spontaneously too."   Exhibitions 2020 Ffin y Parc Gallery - 10th anniversary exhibition. Thompson's Galleries - London Art Fair/ Aldeburgh annual exhibition.   2019 Artzu - AAF Manchester. Clifton Contemporary - solo exhibition. Courcoux Contemporary - mixed exhibition in Salisbury. Edgar Modern - AAFs in Battersea, Hampstead and Singapore. Hadfield Fine Art - Ascot Art Fair. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / 'Small wonders' exhibition. 2018 Artzu - AAF Manchester. Edgar Modern - AAFs in Battersea, Hampstead and New York. Hadfield Fine Art - Cambridge Art Fair / Autumn exhibition. Kooywood Gallery - solo exhibition. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / London Autumn exhibition.    

Luke Elwes Spring, 2021 Mixed Media on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. Education He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Following a spell working at Christie's he began to travel and write, and after meeting Bruce Chatwin in 1987 he went to the central Australian desert to explore the landscape and its use in indigenous storytelling and artforms. Since then he has continued to travel extensively, discovering and revisiting remote locations in India, Asia and North Africa. In 1998 he was artist in residence on an expedition to Mount Kailash, a holy mountain in western Tibet. Since 2000 he has worked for extensive periods on an island off the East Coast of the UK. In 2013 he was awarded a grant to study at the Vermont Studio Center and in 2015 he was resident artist at the Albers Foundation (USA). The idea of a journey is central to his painting, both its physical and temporal unfolding and its recollection in memory. The surfaces recall maps, tracing the marks of history and the fragile signs of belief, and moving between what is revealed and concealed of these often empty and distant terrains. Rooted in the particular, the images also probe an interior space. The art critic Andrew Lambirth has written about them: 'The map is nearly erased, a distressed palimpsest; it is difficult to decipher a single clear meaning. The viewer must, like a scryer, read the signs and interpret accordingly'. More recently the writer Robert Macfarlane has described how 'they hover between encryption and archetype, enigma and fabulous openness' Exhibitions Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.  

Luke Elwes Camino, 2021 Mixed Media on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. Education He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Following a spell working at Christie's he began to travel and write, and after meeting Bruce Chatwin in 1987 he went to the central Australian desert to explore the landscape and its use in indigenous storytelling and artforms. Since then he has continued to travel extensively, discovering and revisiting remote locations in India, Asia and North Africa. In 1998 he was artist in residence on an expedition to Mount Kailash, a holy mountain in western Tibet. Since 2000 he has worked for extensive periods on an island off the East Coast of the UK. In 2013 he was awarded a grant to study at the Vermont Studio Center and in 2015 he was resident artist at the Albers Foundation (USA). The idea of a journey is central to his painting, both its physical and temporal unfolding and its recollection in memory. The surfaces recall maps, tracing the marks of history and the fragile signs of belief, and moving between what is revealed and concealed of these often empty and distant terrains. Rooted in the particular, the images also probe an interior space. The art critic Andrew Lambirth has written about them: 'The map is nearly erased, a distressed palimpsest; it is difficult to decipher a single clear meaning. The viewer must, like a scryer, read the signs and interpret accordingly'. More recently the writer Robert Macfarlane has described how 'they hover between encryption and archetype, enigma and fabulous openness' Exhibitions Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.  

Marina Adams Art on a Postcard for Hep C, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Marina Adams is a painter based in NYC, Bridgehampton, NY and Parma Italy. She earned degrees from Tyler School of Art, Temple University, Philadelphia, PA and Columbia University, New York, NY. Upcoming solo exhibitions include Wild Is Its Own Way, Stephen Friedman Gallery, London; Deep Breathing, Von Bartha, S-Chanf, Switzerland; and Works on Paper (2016-2021), Stephen Friedman Gallery. Recent solo exhibitions include The Journal Gallery, New York, NY; FOCUS: Marina Adams, The Modern Art Museum, Fort Worth, TX; Anemones at Salon 94 Bowery, NYC, which was accompanied by her monograph; and The Secret of Greek Grammar at Larsen Warner Gallery in Stockholm, Sweden. Adams has collaborated with poets generating Actualities with Norma Cole (Litmus Press, 2015); Portrait and a Dream with a poem by Charles Bernstein; Taormina with Vincent Katz (Kayrock, 2012); The Tango with Leslie Scalapino (Granary Books, 2001); and Vue sur Mer with Christian Prigent (Gervais Jassaud, 2010). Education Tyler School of Art, Temple University, Philadelphia, PA Columbia University, New York, NY Exhibitions Marina Adams: Works on Paper (2016-2021) at Stephen Friedman Gallery, London, UK, June 4 - July 10, 2021 Marina Adams, Deep Breathing, Von Bartha, S-chanf, Switzerland, July 8 - August 28, 2021 Marina Adams, Wild Is Its Own Way, Stephen Friedman Gallery, London UK, September 17 - October 23, 2021 Current group shows are: Affinities for Abstraction: Artists on Eastern Long Island 1950 to 2020, Parrish Art Museum, Water Mill, NY, May 2 - July 18, 2021 Shapes, Alexander Berggruen, New York, NY, April 21 - May 27, 2021 She is a 2016 recipient of the John Simon Guggenheim Memorial Fellowship, and received the 2018 Award of Merit Medal for Painting from the American Academy of Arts and Letters.   Gallery Representation Salon 94, New York and Stephen Friedman Gallery, London, UK.  

Kate McCrickard Coffee Drinker, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Kate McCrickard Owl, 2021 Conté Coloured Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Kate McCrickard Artist at Work, 2021 Conté Coloured Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Josh Dorman Ex Equidae, 2021 Ink, Acrylic, Antique Collage and Resin on Paper Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Josh Dorman was born in Baltimore, Maryland, 1966. He lives and works in New York City and in the Catskills Mountains. He received his MFA from Queens College, Flushing, NY and his BA from Skidmore College, Saratoga Springs, NY. His work is represented by Ryan Lee Gallery in New York City, Koplin Del Rio in Seattle, and John Martin Gallery in London.   Education BA Skidmore College, Saratoga Springs, NY 1988 MFA Queens College, Flushing, NY 1992   Exhibitions   Dorman's work is in private collections around the world and U.S. museums including the Minneapolis Institute of Art, The Springfield Museum, The Tang Museum, The Butler Institute, and the Naples Museum. He's had one-person institutional exhibitions at the Longview Museum of Fine Art in Texas, 2019, the Craft and Folk Art Museum in Los Angeles, 2008, and Hallwalls in Buffalo, 2007. He's been included in numerous group-shows including: The Drawing Center, Torrance Art Museum, Katonah Museum, Swarthmore College Museum, Weatherspoon Museum, and The National Academy. His shows have been reviewed in ArtNews, Art in America, LA Times, BOMB Magazine, The Paris Review, Modern Painters, ArtForum, and The New Yorker, and he's been the subject of essays by acclaimed authors Paul Auster, Michael Chabon and Nam Le. From 2009 to 2014, Dorman created seven animated short films to accompany Anna Clyne's The Violin, (DVD available on VMA Records). He's executed public art installations at One New York Plaza in New York City and at Century House Historical Society in Rosendale, NY. In 2009, he received a grant from the New York Foundation for the Arts, and he has been awarded residencies at the MacDowell Colony, Yaddo, I-Park, Millay Colony and Art Omi. John Martin Gallery, London, UK. Ryan Lee Gallery, New York City. Koplin Del Rio, Seattle, WAMy paintings emerge from a liminal state, placing form next to form. My studio overflows with musty textbooks, player piano scrolls, antique maps and diagrams from which I cull imagery. The meaning of my art is in your mind. I'm equally an observer as the pieces come together and the worlds develop. After generating fields of visual detritus, I bury and excavate, wandering between flesh, fog, feather, metal, glass, bone, water, flower, rock. My work is an examination and an escape. A joyful apocalypse.    

Josh Dorman What We've Lost (Mini), 2021 Ink, Acrylic, Antique Collage and Resin on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.)   Josh Dorman was born in Baltimore, Maryland, 1966. He lives and works in New York City and in the Catskills Mountains. He received his MFA from Queens College, Flushing, NY and his BA from Skidmore College, Saratoga Springs, NY. His work is represented by Ryan Lee Gallery in New York City, Koplin Del Rio in Seattle, and John Martin Gallery in London.   Education BA Skidmore College, Saratoga Springs, NY 1988 MFA Queens College, Flushing, NY 1992   Exhibitions   Dorman's work is in private collections around the world and U.S. museums including the Minneapolis Institute of Art, The Springfield Museum, The Tang Museum, The Butler Institute, and the Naples Museum. He's had one-person institutional exhibitions at the Longview Museum of Fine Art in Texas, 2019, the Craft and Folk Art Museum in Los Angeles, 2008, and Hallwalls in Buffalo, 2007. He's been included in numerous group-shows including: The Drawing Center, Torrance Art Museum, Katonah Museum, Swarthmore College Museum, Weatherspoon Museum, and The National Academy. His shows have been reviewed in ArtNews, Art in America, LA Times, BOMB Magazine, The Paris Review, Modern Painters, ArtForum, and The New Yorker, and he's been the subject of essays by acclaimed authors Paul Auster, Michael Chabon and Nam Le. From 2009 to 2014, Dorman created seven animated short films to accompany Anna Clyne's The Violin, (DVD available on VMA Records). He's executed public art installations at One New York Plaza in New York City and at Century House Historical Society in Rosendale, NY. In 2009, he received a grant from the New York Foundation for the Arts, and he has been awarded residencies at the MacDowell Colony, Yaddo, I-Park, Millay Colony and Art Omi. John Martin Gallery, London, UK. Ryan Lee Gallery, New York City. Koplin Del Rio, Seattle, WAMy paintings emerge from a liminal state, placing form next to form. My studio overflows with musty textbooks, player piano scrolls, antique maps and diagrams from which I cull imagery. The meaning of my art is in your mind. I'm equally an observer as the pieces come together and the worlds develop. After generating fields of visual detritus, I bury and excavate, wandering between flesh, fog, feather, metal, glass, bone, water, flower, rock. My work is an examination and an escape. A joyful apocalypse.      

Amy Beager Snake, 2021 Acrylic and Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Amy Beager (b. 1988) lives and works from her studio in Chelmsford, UK. She obtained a National Diploma in Art & Design (Distinction) in 2007 and a Bachelor of Arts degree from Nottingham Trent University in 2010. Beager was selected as a winner for the Delphain Gallery open call 2020 and started exhibiting her work in London in 2019. Her painting 'The Blue Room' is currently on display at Saatchi Gallery as part of the group exhibition 'Antisocial Isolation' curated by Delphian Gallery. Beager's work has been acquired by Soho House and placed in multiple private collections globally. "On the wave of a surge in demand and re-appreciation of figurative art, Amy Beager's paintings emerge as a fresh new voice within this genre. Her bold and graphic paintings reimagine mythological characters through an emotive and fluid language. Predominantly featuring women, the figures are often inspired by fashion imagery, which are re-worked into modern-day deities, transcending their stature and presence. The artist presents an imaginative and alternate reality, using the human form as a vessel to explore emotions and hidden narratives through a dramatic use of colour and expressive lines."- Offshoot Arts Education 2020- 2021 Turps Banana Correspondence Course 2007-2010 Bachelor of Arts Fashion Design (Honours), Nottingham Trent University 2006-2007 BTEC National Diploma Art and Design (Distinction), South Essex College Exhibitions 2021 The Torches Burn Bright, Solo Exhibition, Offshoot Arts 2021 Mnemysone, Group exhibition, Purslane Art 2021 Works on Paper 3, Group exhibition, Blue Shop Cottage 2021 Fragmented Intimacy, Two-person exhibition, Grove Collective 2021 The Everlasting Nude, Group Exhibition, The Curators 2021 Tilted, Group Exhibition, Wilder Gallery X Purslane Art 2020 Original Paper, Group Exhibition, Wilder Gallery 2020 Winners Exhibition, Group Exhibition, Delphian gallery Open Call 2020 2020 With Love, Group Exhibition, Paint Talks 2020 Antisocial Isolation, Group Exhibition, Curated by Delphian Gallery at Saatchi Gallery 2020 Painting Persists, Group Exhibition, Offshoot Arts 2020 Works on Paper, Group Exhibition, Blue Shop Cottage 2020 The Sinister Figures, Virtual Group Exhibition, BUNKER / BuuBuu Studio 2020 Parallax Art Fair, Group Exhibition, Kensington Town Hall, London 2019 Art Maze, Group Exhibition, The Barge House OXO Tower Wharf, London 2019 Roy's Art Fair, Group Exhibition, The Truman Brewery, Brick Lane, London 2019 Art Eat Festival, Group Exhibition, Ipswich waterfront 2019 Blue Woman, Solo Exhibition, BSMT Space, Dalston, London Awards & Prizes 2020 Delphian Gallery, Open Call 2020 finalist, London, UK  

Timothy Gatenby Fake Charizard, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Timothy Gatenby is a contemporary British figurative artist who nostalgically paints modern imagery such as motorways and pop culture with a traditional Old Master approach. Through his limited palette and a ghostly distortion of imagery a sense of foreboding lurks behind the softly executed painting surface in Gatenby's world. His work has been displayed at the National Portrait Gallery, Royal Academy of Art, Mall galleries and Birmingham Society of Artists. In recent years Gatenby's work has been selected for the Columbia Threadneedle Prize Exhibition (2018), Royal Society of British Artists (2018), the New English Art's Club (2014), BP Portrait Prize (2012) and the Royal Academy Summer Exhibition (2019, 2012) Gatenby's paintings feature nostalgic characters from 90s television, rendered with a painterly quality more associated with the esteem of Fine Art than the amusement of light entertainment. Familiar characters, usually known for being brightly colored and fun, are depicted in washed-out hues; their smooth cartoon-like surfaces represented as textured and greyed. The usually jovial characters of popular television are stripped of their bright, happy personalities and on them, something much more sinister is superimposed. There is a sense that these characters from happy childhood memories have been lost to the passage of time; that history has forgotten them, that they have been brushed aside in the wake of newer incarnations of characters for popular amusement; washed up at the banks of the mainstream of entertainment, becoming just an afterthought no longer foregrounded, except in these paintings. The same dynamic underlies Gatenby's motorway paintings, which take the often disparaged aesthetics of concrete and tarmac from some of Britain's major roads, and sets them as the atmosphere of landscape paintings that hint at the classical discipline which they reappropriate for a brutalist, modern setting. All the while, throughout the various styles and themes that Gatenby explores, small idiosyncratic moments crop up, where, as if for his own amusement as much as anybody else's, a joke or a pun is given expression through a depicted object seen out of place, or an expectation subverted by an oddity, giving the work a touch of the absurd, since the emotional thread spun on the notion of disgraced and forgotten figures of childhood television 'and the depressing vision obscured by petrol exhaust fumes on the highways and byways of life' becomes an irony. The works thereby achieve a certain circularity of meaning, by which a tragi-comic interpretation can be pursued as far as one wishes to take it. The forgotten characters are not forgotten after all, but return under a different guise.  

Pedro Paricio The Collectors, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paricio was born on 16 January 1982 on Tenerife in the Canary Islands. As a child, he was always drawing, but at high school he studied science and only began to contemplate a future in the arts a few months before going to college. 'To be honest, the thing that attracted me was the freedom that society gives to the artist', he explains. 'I chose art because I wanted a different life'. Yet, with the benefit of hindsight, he now feels that the chain of events that led him into art was a process of discovering his fate, his destiny. Paricio enrolled at the Faculty of Fine Arts of the University of La Laguna, Tenerife, moving on to a course in Salamanca and completing his training with a degree in Fine Arts at the University of Barcelona (2004-2006). While at college, he considered a career as an art critic-cum-curator; such essays as Unfinished Articles I and II convey a lucid intelligence that enables him to reflect, for example, on the tyrannical relationship between artistic theory and practice. Paricio was focusing mostly on sculpture, installation and video art at the time of his first group show, Don't Call it Performance (2004), at Domus Artium 2002 (DA2), Salamanca, Spain, but shortly afterwards decided to make painting his sole medium; he considers the latent possibilities of painting to be infinite and dismisses the idea of using other media or technology in response to fleeting fads in art. Paricio currently divides his time between Tenerife and London. His paintings are held in many private collections around the world, and he enjoys an international reputation following exhibitions throughout Europe and the United States. The Master Painters show at Halcyon Gallery, London, in 2011 made an impact on the international art scene, and in 2012 The Theatre of Painting, his solo museum exhibition in Spain, was staged at the Institute of Culture and Arts of Seville. In early 2013, he took part in the Gabinete de Curiosidades, a mixed exhibition of works by modern and contemporary artists at the Plataforma Arte Contemporáneo (PAC), Madrid, and the Art Madrid Maestros Art Fair in Madrid. Paricio was honoured to be selected for inclusion in Francesca Gavin's book 100 New Artists (2011), representing an innovative generation that is forming the aesthetics of the coming decade. 2006 BA Fine Arts, University of Barcelona, Spain SOLO EXHIBITIONS 2019 Paricio, Picasso, Halcyon Gallery, London, UK 2016 Dreams, Halcyon Gallery, London, UK 2014-15 Elogio de la pintura, Espacio de las Artes (TEA), Tenerife, Spain 2014 Dialogo con el color la belleza y la forma, Galería Muro Valencia, Spain 2014 Shaman, Halcyon Gallery, London, UK 2012 Diary of an Artist and Other Stories 2007-2012, Halcyon Gallery, London, UK 2012 The Theatre of Painting, Casino de la Exposición (ICAS), Seville, Spain 2011 Master Painters, Halcyon Gallery, London, UK 2010 Fe infinita, Galeria Balaguer, Barcelona, Spain 2009 Pedro Paricio, Seyhoun Gallery, Los Angeles, EEUU 2009 Un pintor otro, Galeria Muro, Valencia, Spain 2008 The Canary Paradise, Ikara Gallery, Barcelona, Spain 2006 Intimissimo, Espacio Joven, Salamanca, Spain SELECTED GROUP EXHIBITIONS 2018 ArtRocks, Halcyon Gallery, London, UK 2017 Quijotes en tiempos de crisis, Liceo de Taoro, La Orotova, Spain 2017 Pelé: Art Life Football, National Football Museum, Manchester, UK 2017 Clouded Lands, Fundación Caja Burgos (CAB), Burgos, Spain 2015 Pelé: Art, Life, Football, Halcyon Gallery, London,UK 2015 The Art of Creating, Halcyon Gallery, London, UK SELECTED COLLECTIONS Fundación Cesáreo Rodríguez-Aguilera, Jaén, Spain Fundación Caja Burgos (CAB), Burgos, Spain Norton Museum of Art, Florida, EEUU Espacio de las Artes (TEA), Tenerife, Spain Ernesto Ventos Collection, Olorvisual, Barcelona, Spain SELECTED PUBLICATIONS 2019 Paricio, Picasso, published by Halcyon Gallery, London, UK 2016 Dreams, published by Halcyon Gallery, London, UK 2015 Pelé: Art, Life, Football exhibition catalogue with essays: Brian Winter, 'Why Pelé Still Inspires Us'; Dr.Bernard Vere, 'Andy Warhol, Pelé, and the 'Athletes' Series' (Halcyon Gallery) 2015 Elogio de la pintura, exhibition catalogue (TEA Tenerife Espacio de las Artes)

Pedro Paricio The Collectors, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paricio was born on 16 January 1982 on Tenerife in the Canary Islands. As a child, he was always drawing, but at high school he studied science and only began to contemplate a future in the arts a few months before going to college. 'To be honest, the thing that attracted me was the freedom that society gives to the artist', he explains. 'I chose art because I wanted a different life'. Yet, with the benefit of hindsight, he now feels that the chain of events that led him into art was a process of discovering his fate, his destiny. Paricio enrolled at the Faculty of Fine Arts of the University of La Laguna, Tenerife, moving on to a course in Salamanca and completing his training with a degree in Fine Arts at the University of Barcelona (2004-2006). While at college, he considered a career as an art critic-cum-curator; such essays as Unfinished Articles I and II convey a lucid intelligence that enables him to reflect, for example, on the tyrannical relationship between artistic theory and practice. Paricio was focusing mostly on sculpture, installation and video art at the time of his first group show, Don't Call it Performance (2004), at Domus Artium 2002 (DA2), Salamanca, Spain, but shortly afterwards decided to make painting his sole medium; he considers the latent possibilities of painting to be infinite and dismisses the idea of using other media or technology in response to fleeting fads in art. Paricio currently divides his time between Tenerife and London. His paintings are held in many private collections around the world, and he enjoys an international reputation following exhibitions throughout Europe and the United States. The Master Painters show at Halcyon Gallery, London, in 2011 made an impact on the international art scene, and in 2012 The Theatre of Painting, his solo museum exhibition in Spain, was staged at the Institute of Culture and Arts of Seville. In early 2013, he took part in the Gabinete de Curiosidades, a mixed exhibition of works by modern and contemporary artists at the Plataforma Arte Contemporáneo (PAC), Madrid, and the Art Madrid Maestros Art Fair in Madrid. Paricio was honoured to be selected for inclusion in Francesca Gavin's book 100 New Artists (2011), representing an innovative generation that is forming the aesthetics of the coming decade. 2006 BA Fine Arts, University of Barcelona, Spain SOLO EXHIBITIONS 2019 Paricio , Picasso, Halcyon Gallery, London, UK 2016 Dreams, Halcyon Gallery, London, UK 2014-15 Elogio de la pintura, Espacio de las Artes (TEA), Tenerife, Spain 2014 Dialogo con el color la belleza y la forma, Galería Muro Valencia, Spain 2014 Shaman, Halcyon Gallery, London, UK 2012 Diary of an Artist and Other Stories 2007-2012, Halcyon Gallery, London, UK 2012 The Theatre of Painting, Casino de la Exposición (ICAS), Seville, Spain 2011 Master Painters, Halcyon Gallery, London, UK 2010 Fe infinita, Galeria Balaguer, Barcelona, Spain 2009 Pedro Paricio, Seyhoun Gallery, Los Angeles, EEUU 2009 Un pintor otro, Galeria Muro, Valencia, Spain 2008 The Canary Paradise, Ikara Gallery, Barcelona, Spain 2006 Intimissimo, Espacio Joven, Salamanca, Spain SELECTED GROUP EXHIBITIONS 2018 ArtRocks, Halcyon Gallery, London, UK 2017 Quijotes en tiempos de crisis, Liceo de Taoro, La Orotova, Spain 2017 Pelé: Art Life Football, National Football Museum, Manchester, UK 2017 Clouded Lands, Fundación Caja Burgos (CAB), Burgos, Spain 2015 Pelé: Art, Life, Football, Halcyon Gallery, London,UK 2015 The Art of Creating, Halcyon Gallery, London, UK SELECTED COLLECTIONS Fundación Cesáreo Rodríguez-Aguilera, Jaén, Spain Fundación Caja Burgos (CAB), Burgos, Spain Norton Museum of Art, Florida, EEUU Espacio de las Artes (TEA), Tenerife, Spain Ernesto Ventos Collection, Olorvisual, Barcelona, Spain SELECTED PUBLICATIONS 2019 Paricio, Picasso, published by Halcyon Gallery, London, UK 2016 Dreams, published by Halcyon Gallery, London, UK 2015 Pelé: Art, Life, Football exhibition catalogue with essays: Brian Winter, 'Why Pelé Still Inspires Us'; Dr.Bernard Vere, 'Andy Warhol, Pelé, and the 'Athletes' Series' (Halcyon Gallery) 2015 Elogio de la pintura, exhibition catalogue (TEA Tenerife Espacio de las Artes)

Michael Scoggins Love, 2021 Coloured Pencil, Graphite Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Michael Scoggins is an American artist best known for his works on notebook paper which feign the attitude of a petulant adolescent doodling. Similarly to the works of David Shrigley , the artist utilizes cynicism, irony, and novice drawing. Scoggins came to this style by revisiting his own childhood sketchbooks and realizing how disarmingly truthful they were in comparison to the paintings he had been making as an adult. His alter-ego, a personality reminiscent of the Dadaist tradition, Michael S., presents the artist as an uninhibited child. "I want to present my work with sincerity, and it is truly a reflection of who I am," he mused. "If that means showing vulnerability or rage, then so be it. I'm interested in talking about human nature and realism." Many of his works are either on or consist of crumpled pieces of paper, and are sometimes presented as sculpture. Born in 1973 in Washington D.C., he attended the Skowhegan School of Painting and Sculpture and Painting in 2003 and received his MFA from the Savannah College of Art and Design in 2006. Today, his works are in the collections of The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, CA, and the Telfair Museum of Art in Savannah, GA, among others. Scoggins lives and works in Brooklyn, NY.  

Michael Scoggins Black Lives Matter 1, 2021 Marker on Postcard Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Michael Scoggins is an American artist best known for his works on notebook paper which feign the attitude of a petulant adolescent doodling. Similarly to the works of David Shrigley , the artist utilizes cynicism, irony, and novice drawing. Scoggins came to this style by revisiting his own childhood sketchbooks and realizing how disarmingly truthful they were in comparison to the paintings he had been making as an adult. His alter-ego, a personality reminiscent of the Dadaist tradition, Michael S., presents the artist as an uninhibited child. "I want to present my work with sincerity, and it is truly a reflection of who I am," he mused. "If that means showing vulnerability or rage, then so be it. I'm interested in talking about human nature and realism." Many of his works are either on or consist of crumpled pieces of paper, and are sometimes presented as sculpture. Born in 1973 in Washington D.C., he attended the Skowhegan School of Painting and Sculpture and Painting in 2003 and received his MFA from the Savannah College of Art and Design in 2006. Today, his works are in the collections of The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, CA, and the Telfair Museum of Art in Savannah, GA, among others. Scoggins lives and works in Brooklyn, NY.  

Willemien Bardawil Rosé Soirée, 2021 Watercolour and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Willemien is an artist based in London. She has formerly specialised in fashion which is translated through her use of colour and print. She is constantly inspired by the current world around her, yet consistently looks back to art of the past for influence. Her compositions and themes are often influenced by ancient Greek or Roman sculptures and Renaissance and Romantic periods. She reinterprets these classical forms in a playful and feminine way within the modern context of today, focusing on exploring the female form living her most joy. She works primarily in watercolour, ink and pastel to achieve her fluid style, however at times uses acrylic and oil on canvas for larger commissions. Formally she is trained in drawing by the Ruskin school of art in Oxford and Royal drawing school in London, but her very unique aesthetic is entirely self taught.  

Willemien Bardawil Rosé Soirée for two, 2021 Watercolour and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Willemien is an artist based in London. She has formerly specialised in fashion which is translated through her use of colour and print. She is constantly inspired by the current world around her, yet consistently looks back to art of the past for influence. Her compositions and themes are often influenced by ancient Greek or Roman sculptures and Renaissance and Romantic periods. She reinterprets these classical forms in a playful and feminine way within the modern context of today, focusing on exploring the female form living her most joy. She works primarily in watercolour, ink and pastel to achieve her fluid style, however at times uses acrylic and oil on canvas for larger commissions. Formally she is trained in drawing by the Ruskin school of art in Oxford and Royal drawing school in London, but her very unique aesthetic is entirely self taught.  

Villain Queen of Spades, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.    

Villain Queen of Diamonds, 2021 Giclee on Card ACCOMPANYING CO 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Villain Queen of Hearts, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Villain Queen of Clubs, 2021 Giclee on Card ACCOMPANYING COA 21 x 14.8cm (8¼ x 5¾ in.) Villain worked in the Fashion Industry for 20 years as a Hollywood Stylist, Print designer and Creative Director. After getting away with it for so many years they launched as an Artist in 2018. Bridging the gap between fashion, graphic design and pop art, Villain presents works that view popular culture through a queer lens. His first residency at London's notorious Balans restaurant "Retrosexual" an exploration of modern LGBTQ issues explored through vintage imagery, was initially scheduled for four weeks, it ran for a year. Their second solo show "Fantabuloso" at Hackneys's Atom Gallery was a study of 'Polari', the secret queer gay language of the 20th Century and vintage comic book covers, presenting a world where homosexuality had never been criminalised. Fantabuloso went on to exhibit at "Kapow" the Duovision arts curated show alongside artists such as Dougie Fields and Whitaker Malem. Villain is has recently completed works for the HOA-House of Androgyny performance group and is plotting his next show "Re-animated" - a twisted exploration of iconic animated tropes. Surrey Institute of Art and Design B.A. Hons Fashion. "Retrosexual" 2018/2019 - Balans Soho "Fantabuloso" 2019 Atom Gallery London "Super F*£king Gay" 2019 Orbital Gallery London "Kapow" 2020 Potteries Museum Staffordshire Represented by the ATOM Gallery, Hackney, London   About the Artworks "QUEEN" an alternative deck of cards revealing the true identities of some of your favourite gambling icons. Poker? I hardly know her.  

Jordan Wolfson Photographic Reproduction of Female Figure, 2014, 2021 Photographic Print on Paper ACCOMPANYING COA 15 x 10cm (5¾ x 3¾ in.) Jordan Wolfson is known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. Pulling intuitively from the world of advertising, the internet, and the technology industry, he produces ambitious and enigmatic narratives that frequently revolve around a series of invented, animated characters. Through his art, Wolfson probes difficult, often controversial topics and themes that underlie American culture and contemporary society. Wolfson was born in 1980 in New York. In 2003 he received his BFA in sculpture from the Rhode Island School of Design. The artist joined David Zwirner in 2013 and has presented solo exhibitions of his work at the gallery in New York in 2014, 2016, and 2018. In 2020, ARTISTS FRIENDS RACISTS marked Wolfson's fourth solo exhibition with David Zwirner. A concurrent installation of the works was on view at Sadie Coles HQ, London. Solo exhibitions of the artist's work will be presented at the National Gallery of Australia, Parkes, Australia, in 2021 and at Castello di Rivoli, Museum of Contemporary Art, Turin, Italy, in 2022. In 2018, the inaugural London presentation of Jordan Wolfson's Colored sculpture took place in the Tanks at Tate Modern. The work features a sculptural figure of a boy suspended by chains and references the racism of the characters Huck Finn and Howdy Doody, as well as the Mad magazine mascot Alfred E. Neuman. Also in 2018, The Broad in Los Angeles presented Jordan Wolfson's (Female Figure) and the Zabludowicz Collection in London presented 360: Jordan Wolfson. In 2016, the Stedelijk Museum Amsterdam hosted a two-part survey of the artist's work, MANIC/LOVE/TRUTH/LOVE. Jordan Wolfson: Ecce Homo/le Poseur, the most comprehensive survey of his work to date, was organized by the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent and presented in 2013. Other institutions which have hosted solo presentations of his work include Moderna Museet, Stockholm (2019); Schinkel Pavillon, Berlin (2018); Pond Society, New Century Art Foundation, Shanghai (2017); Cleveland Museum of Art (2015); Kunsthalle Wien, Vienna (2012); REDCAT, Los Angeles (2012); Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2011); CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Swiss Institute of Contemporary Art, New York (2008); Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy (2007); and the Kunsthalle Zürich (2004). In 2014 a selection of Wolfson's video work was shown at the McLellan Galleries in Glasgow as part of the 6th Glasgow International. Work by Wolfson is held in public collections worldwide, including the Art Institute of Chicago; The Broad, Los Angeles; Cleveland Museum of Art, Ohio; Fondazione Sandretto Re Rebaudengo, Turin; Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy; Fonds national d'art contemporain (FNAC), France; LUMA Foundation, Zurich; Magasin III Museum and Foundation for Contemporary Art, Stockholm; Moderna Museet, Stockholm; Museum of Contemporary Art Chicago; Museum Ludwig, Cologne; The Museum of Modern Art, New York; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; Tate, London; and the Whitney Museum of American Art, New York. He lives and works in Los Angeles.    

Chica Seal The All Seeing, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born,1991 Lisbon, Portugal. Chica grew up in London, then later Sussex. After working in London as a studio assistant and a fine artist for 6 years, she has recently moved to Somerset where she has a studio. 2010-11 Falmouth Art School, Foundation Diploma 2013-15 Brighton University, Fine Art PaintingWomens Aid Auction by Bertson Bhattacharjee, London, 2021 Kindness, curated by Leo Babsky in aid of Chasing the Sigma, one day event for World mental heath day, Oct 2020 A dream is not a dream, Virtual exhibition curated by Purslane Art, July 2020 Show of Support, Virtual Exhibition raising money for Women's Aid + more, May 2020 Curated for COVID, Virtual Exhibition curated by Rachael Neale + Beth Rodway, raising money for Mind Charity, 2020 Twilight of the Idols, Alice Black Gallery, London, January 2020 A Fish Wives Tale, London, 2019 Modern Miniaturists, curated by Partnership Editions, London, 2018 Desert Island, Group show, Southgate Studios, London, 2018   About the Postcards The three postcards correlate to the work I am currently making in the studio. Focussing on the exploration of a new landscape, understanding the pastoral and lyrical history of an area. These works contain recurring themes and narratives, looking at the history in literature and imagery of women walking alone. Whilst also being interested in the false reality we see through our phones which can transport us anywhere and we can easily miss the fast details which occur around us whilst our head is down.  

Chica Seal Sheep in my Dream, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born,1991 Lisbon, Portugal. Chica grew up in London, then later Sussex. After working in London as a studio assistant and a fine artist for 6 years, she has recently moved to Somerset where she has a studio. 2010-11 Falmouth Art School, Foundation Diploma 2013-15 Brighton University, Fine Art PaintingWomens Aid Auction by Bertson Bhattacharjee, London, 2021 Kindness, curated by Leo Babsky in aid of Chasing the Sigma, one day event for World mental heath day, Oct 2020 A dream is not a dream, Virtual exhibition curated by Purslane Art, July 2020 Show of Support, Virtual Exhibition raising money for Women's Aid + more, May 2020 Curated for COVID, Virtual Exhibition curated by Rachael Neale + Beth Rodway, raising money for Mind Charity, 2020 Twilight of the Idols, Alice Black Gallery, London, January 2020 A Fish Wives Tale, London, 2019 Modern Miniaturists, curated by Partnership Editions, London, 2018 Desert Island, Group show, Southgate Studios, London, 2018   About the Postcards The three postcards correlate to the work I am currently making in the studio. Focussing on the exploration of a new landscape, understanding the pastoral and lyrical history of an area. These works contain recurring themes and narratives, looking at the history in literature and imagery of women walking alone. Whilst also being interested in the false reality we see through our phones which can transport us anywhere and we can easily miss the fast details which occur around us whilst our head is down.